Before they were gracing our big and small screens, they were strutting runways and mugging for fashion ads. Where would Hollywood be without models-turned-actors? With her new role in Paper Towns, Cara Delevingne seems to be the latest model to make the transition. And from the looks of it, it seems like she'll be successful. Here's a list of some other pretty people who have proven they can act, too! (Jury's still out on Kate Upton...)
1. Cara Delevingne
GIPHY
She first appeared in Anna Karenina starring Keira Knightley, and now she’s set to star in Paper Towns, the film based on the beloved John Green novel.
2. Caitriona Balfe
strngland.tumblr.com
Did you know this Outlander actress was a former Victoria’s Secret model? Must be why she wears all of those 18th century corsets so well. (That gif is her walking the Marc Jacobs runway in 2003. Werk.)
3. Jaime King
bashooking.tumblr.com
Before she was acting in Hart of Dixie and being BFFs with Taylor Swift, Jaime King modeled for Vogue and walked the runways as “James King.”
4. Shay Mitchell
GIPHY
This Canadian beauty modeled all over the world before landing her Pretty Little Liars gig. But she still puts her modeling skills to good use by posting killer selfies on Instagram.
5. Ashton Kutcher
GIPHY
He placed first in a "Fresh Faces of Iowa" modeling competition and dropped out of college to pursue modeling in New York. His modeling career was short-lived, though. In 1998, he landed the role of Kelso in That '70s Show.
6. Jamie Dornan
GIPHY
Yes, we know he's everywhere these days, but before he was the star of Fifty Shades of Grey, Jamie was just your average smoking hot Calvin Klein model.
7. Katherine Heigl
GIPHY
As a teen model in the '90s, Katherine graced the cover of Seventeen magazine and pursued acting gigs at the same time. In 1999, she got the part of Isabel Evans in Roswell, but her real acting breakout came when she landed a role on Grey's Anatomy.
8. Josh Duhamel
amell-ramsey.tumblr.com
Ashton Kutcher actually lost a modeling competition to Josh in 1997.
9. Emily Ratajkowski
GIPHY
This model got her first big break as the topless girl in Robin Thicke’s “Blurred Lines” video, but quickly proved she was more than just a music video babe. She landed a key role in Gone Girl and set to star opposite Zac Efron in the upcoming flick We Are Your Friends.
10. Brooklyn Decker
GIPHY
Brooklyn, best known for her work as a Sports Illustrated swimsuit model, made her film debut in Just Go With It and has since appeared in Battleship and What to Expect When You’re Expecting.
11. Alexis Bledel
shinyruttinreavers.tumblr.com
She was all over those Naturistics lip gloss ads (remember those?) in the late 90s before she graced our screens as Rory Gilmore in Gilmore Girls.
12. Channing Tatum
headvsreality.tumblr.com
After he was a stripper but before he became an actor, Channing was a model. He posed for ads for Nautica and Abercrombie.
13. January Jones
GIPHY
Just like Betty Draper, January Jones used to be a model. But unlike Betty Draper, January went on to make an even better career for herself. And as we know from her Instagram #TBT pics, she wasn’t always so gorgeous and poised. There’s hope for everyone!
Which model-turned-actor is YOUR favorite? Tell us on Twitter by following below!
Follow @hollywood_com
//
Follow @onthemarquee
//

So Mindy dropped a bomb on us last week during The Mindy Project. Our favorite, fashionable OBGYN is preggers! With Danny’s baby! While we’re all for a baby Castellano (can you imagine the tiny red reading glasses?!), we couldn’t help but feel this “twist” was a little…too obvious? The surprise pregnancy plotline has been done in countless other TV shows – sometimes as a jump-the-shark moment (read: the writers have run out of ideas) and other times as a way to write an actress’ real-life pregnancy into the show. Either way, sometimes it works, sometimes it doesn’t. And fans generally love it or hate it - no inbetween.
themindyprojectfox.tumblr.com
Mindy’s situation is unique because, as Mindy Kaling told EW.com, the writers have been talking about this pregnancy storyline since season one. The unplanned pregnancy was indeed planned. And, Kaling said, it will only motivate Mindy more in her career. Smart, successful, ambitious Mindy isn’t going away, folks! We’re tentatively hopeful it’ll all work out – that is, as soon as she tells Danny.
realdetective.tumblr.com
On the flip side, another Fox comedy, New Girl, has decided not to write Zooey Deschanel’s real-life pregnancy into the show. Thank God for small miracles. Can you imagine all of them in that loft with a BABY? Though we have to admit Schmidt would make an amazing godfather.
And now we present some shows that have handled the pregnancy twist with varying degrees of success.
Bones: Hate It
boothandbrennanarebae.tumblr.com
After years of sexual tension buildup, we didn’t even get to see the Brennan/Booth hookup. We weren’t even sure they’d done it, until Brennan suddenly announced she was pregnant. HUHWUH?
Parks &amp; Recreation: Love It
dailybenleslie.tumblr.com
Here’s how to completely call out the ridiculousness of the pregnancy plot twist and play into it at the same time – at the end of last season, Leslie Knope revealed she was pregnant…with TRIPLETS.
Mad Men: Love It
GIPHY
When January Jones became pregnant in real life Mad Men didn’t write it into the show, instead they made Betty get fat. It was hilarious – and also a really elaborate way to hide an on-screen pregnancy. We kinda miss Fat Betty.
Nashville: Love It
GIPHY
Nashville wrote Hayden Panettiere's pregnancy into her character's storyline. It definitely made Juliette's life more complicated and more drama on Nashville can only be a good thing, we suppose.
King of Queens: Hate It
gifyoutube.com
Probably one of the worst instances of trying to hide a pregnancy on television. It was so obvious Leah Remini was preggers that they should have just written it into the show. It's almost like they didn't even try to conceal it!
The Office: Love It
GIPHY
It took Jim and Pam forever to get together, but once they did, they sure didn't waste any time! It only made sense for these two to start a family.
Hart of Dixie: On the Fence
GIPHY
The show turned Rachel Bilson's pregnancy into an unexpected life change for her character, Zoe. We're still waiting to see how this one plays out.
So what do you think? Pregnancy twist: love it or hate it? Which shows did it well and which shows didn't? Let us know!
Follow @hollywood_com
//
Follow @onthemarquee
//

HBO
True Detective creator Nic Pizzolato spent his Memorial Day weekend bequeathing listeners of the To the Best of Our Knowledge radio program with new information about the upcoming second season of his celebrated HBO series. While we still have no word on who'll star in the sophomore round of philosophically dense, delightfully grim hours of criminal investigation (Brad Pitt is up in the air and Jessica Chastain broke our hearts with a resounding "no"), we are now privy to some interesting details about the characters, setting, and plot. And it all sounds a little bit... familiar.
Courtesy of Uproxx, we have Pizzolato's quotes about the next story he plans to tell: "Right now, we’re working with three leads. It takes place in California. Not Los Angeles, but some of the lesser known venues of California and we’re going to try to capture a certain psychosphere ambience of the place, much like we did with season one ..." Tacking this onto the last batch of info we heard about True Detective (via EW), things get somewhat eerie: "The basic idea: Hard women, bad men, and the secret occult history of the U.S. transportation system."
Taken independently, each one of these elements sounds none too suspicious. But when you slap 'em all together, you can't help but wonder if Pizzolato is upping the ante on his devotion to source material since Season 1's adherence to the Robert W. Chambers short story "The King in Yellow." This time around, it doesn't seem like True Detective is looking to literature to guide its story, but to another show. A show we all know, all love. A show that still exists. In our minds, our hearts. All around us. Everywhere we look.
That's right. True Detective Season 2 sounds exactly like Full House.
Think about it:
It's bumping up to three leads...
ABC Television Network
Takes place in California, but not Los Angeles...
ABC Television Network
And focusing on the secret occult history of the U.S. transportation system (you know, like a bridge)...
Getty Images
As Pizzolato puts it, the season is about bad men...
ABC Television Network/Getty Images
And hard women...
ABC Television Network/Getty Images
And will really delve into the psychosphere ambiance...
ABC Television Network/Getty Images
That's right. So don't worry if the milkman, the paperboy, evening TV, and all the other tenets of predictability seem to have faded away. Because time is a flat circle.
Follow @Michael Arbeiter| Follow @Hollywood_com

DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
Follow @Michael Arbeiter
//
| Follow @Hollywood_com
//

Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
3.5/5
Follow @Michael Arbeiter
//
| Follow @Hollywood_com
//

tiamowry/Instagram
If you've spent any amount of time on the Internet recently, you're probably aware that the world is currently in the midst of a long period of '90s nostalgia. Between a Boy Meets World spin off, the 'NSYNC reunion at the VMAs, and countless BuzzFeed articles, it seems like there has never been a time period more popular than the 1990s currently are. But for everyone who enjoys complaining that the cartoons today aren't as entertaining, bemoaning the lack of TGIF every week and looking for the exact outfit that Cher Horowitz wears in the beginning of Clueless, we have some bad news: '90s nostalgia may have peaked.
Tia Mowry, who rose to fame in the '90s on Sister Sister with her twin, Tamera, posted what may be the ultimate nostalgia photo on her Instagram yesterday. For Throwback Thursday, she shared of photo of herself and Tamera with Clarissa Explains It All and Sabrina the Teenage Witch star Melissa Joan Hart, Blossom's Jenna Von Oy, and Jodie Sweetin and Andrea Barber, who played Stephanie Tanner and Kimmie Gibbler on Full House. Mowry captioned the photo "TBT Can you recognize who's who? We are all mommies now :) xx".
Mowry's photo may be the ultimate piece of '90s nostalgia. It's hard to top a photo that gathers together the stars of the biggest shows of the decade, wearing both the best and worst fashion trends of the time, posted by a '90s star herself. We, as a society, may have to move on from idolizing the 90's and choose another decade to collectively fawn over. No lists, spinoffs or reunions will be able to beat this moment. It's not like there's anything else left to say about the decade anymore. We've dissected the fashions, the music, the movies, the televison shows, and the toys in such depth that the only thing left to write are some detailed essays about POGs — and nobody wants that.
We've reached a point of nostalgia overload, and Mowry's photo may have pushed us over the edge. So, let us take her Throwback Thursday as a sign that it is time for all of us to put away our plaid vests, our platform shoes and the episodes of Hey, Arnold we've still got on VHS somewhere, and focus on a new time period. We could bring back the flapper dresses of the 1920s, celebrate the end of Mad Men with a 1960s revival, or just move forward in time and remember the early 2000s in all of their denim-tuxedoed, Britney-and-Boy-Band glory days.
Besides, let's face it, those floppy hats have never looked good on anyone.
Follow @hollywood_com
//
Follow @julesemm
//

Now that Shailene Woodley has been cast as the lead in the adaptation of John Green's bestselling young adult novel The Fault In Our Stars, the hunt is on to find her leading man. Woodley plays Hazel, a teenage cancer patient who meets a fellow sufferer in a cancer support group. Agustus is a videogame-loving ex-basketball player who lost his leg to osteosarcoma, and a complete dreamboat. The five young actors testing for the role aren't very famous, so we've rounded up their most well-known credits for you to figure out where you've seen them before.
If you're not hip to TFIOS, get on it. Time voted it the No. 1 book of 2012 — not YA book, all books. Stock up on tissues before you read. And if you are, here are the five young actors testing for Augustus this weekend, per Variety:
Brenton Thwaites, 24 Did you catch Lifetime's 2012 remake of the classic erotic teenage coming-of-age story The Blue Lagoon, Blue Lagoon: The Awakening? If not, then you probably haven't seen this Australian cutie unless you hail from his homeland, where he starred on the long-running soap Home and Away. But you will see him when he plays the Young Prince in the Angelina Jolie-starring fairy tale epic Maleficent, out next year.
Nat Wolff, 18 This star of the long-running Nickelodeon series The Naked Brothers Band played one of the titular bros (along with his real-life sibling, Alex). He appeared in the star-studded New Year's Eve, and plays one of the leads in Palo Alto, the dark drama based on James Franco's short stories.
Nick Robinson, 18 Robinson can currently be seen as Ryder Scanlon, the nephew of Melissa Joan Hart in ABC Family's sitcom Melissa &amp; Joey. On the opposite end of the acting spectrum, he also appeared in an episode of Boardwalk Empire and a few smaller films.
Noah Silver The Internet doesn't have much on this young actor, who we're assuming is French or French-Canadian (due to the multiple French-language credits on his IMDb page. He has three films set for release in the next year, though, including Jamie Marks Is Dead alongside Judy Greer and Liv Tyler and The Last Nights alongside Morgan Freeman and Clive Owen. You can also catch him in three episodes of Showtime's The Borgias.
Ansel Elgort Elgort's already got the advantage of working with his potential costar, Woodley, as her brother in the actress' other high-profile adaptation, Divergent. The stage actor makes his film debut in the new remake of Carrie, starring Chloe Moretz and Julianne Moore.
More: 'The Fault In Our Stars' Movie Gets a DirectorShailene Woodley, Queen of YA? Starlet Joins 'TFIOS' Movie'Beautiful Creatures,' 'TFIOS' &amp; More YA Books You Should Know About
Follow Jean on Twitter @hijean
From Our Partners:What Happened to 33 Child Stars (Celebuzz)40 Most Revealing See-Through Red Carpet Looks (Vh1)

Ever since Lori's (un)timely death, the man, the myth, the hot mess that is Rick Grimes has been on an annoying downward spiral with an end that seemed to be nowhere in sight. And who would have known that, 31 episodes into the series, it wouldn't be Carl, or Hershel, or any of the other misfits he's met along his journey that would snap him right back to reality. Instead, it was Morgan Jones, the kindly man who fostered Rick during the show's pilot, that would unintentionally drill in a very important message: Rick Grimes, s**t could always be worse.
I'm guessing that tonight's episode will be a polarizing one. Not only did we not see any forward movement on the Grimes versus Woodbury plot line, but there were no epic Walker battles — and, oh yeah, the only characters shown in the episode were Rick, Carl, Michonne, and Morgan. Any episode that excludes Daryl Dixon in favor of generally unpopular characters like Carl and Michonne is a risk, but I think that this particular risk was very well worth taking. It was the first episode that actually humanized Michonne as a real live being with feelings, and not just a scowl-face ("I think she might be one of us," says Carl). Also, it furthered Carl along on his journey from annoying pre-teen to courageous adult with a strong sense of morals in an increasingly morally deprived world. Plus, that cat! And rats on skateboards! (ASIDE: Why have we not seen any cats on The Walking Dead? If anyone can easily escape a herd of Walkers and remain well-fed during a Zombie Apocalypse, it's a cat. New showrunner Scott Gimple, please hire some cats.)
RELATED: 'The Walking Dead' Recap: Who Will Kill Andrea?
But mostly, this was the episode that effectively halted Rick's downward spiral, by sending him back to his home town for ammo (ASIDE: Was anyone else laughing at how little they've traveled over the last few seasons?), and putting him face to face with someone who has fared far worse in this post-apocalyptic society. Rick may have lost Lori and some other randos along the way (sorry, T-Dog), but he still has his son, and some pretty good people to share some semblance of a life with. Something to fight for, if you will. When Rick stared Morgan straight in the face, he saw what he himself would become if he continued on his current trajectory. He saw the face of what all-encompassing loss can do to a person. It sucks.
And it wasn't even just Morgan — the whole episode was a giant jolt for the audience, too, as we've become accustomed to a season filled to the brim with cray cray humans, both in Woodbury and the prison. (Fight the dead, fear the living — remember?) This season has felt very alive in a show about the literal and metaphoric walking dead, and tonight offered a huge break from that. The trip to Rick and Carl's hometown gave us and them their first real look back, and boy was it depressing. The opening shot of the episode offered a glimpse at one permanently forgotten family's tragic story ("Erin, we tried for Stone Mountain — J"), and the other car on the highway, filled with rotten corpses, was an obvious metaphor for RICK GRIMES, THIS COULD HAVE BEEN YOU. (Rick did show occasional looks of remorse when he saw the misfortune of others, but come on — you know he wouldn't let that family into the Grimes Gang if they had survived. If only they too had been driving a Hyundai.)
Case in point: the faceless dude who ran after the Grimes' Hyundai, completely alone and desperate, on the highway. Dude, you're about to become a statistic. I'm not sure if it was Rick's unwillingness to take people in — highlighted again by the conversation Michonne overheard where Rick told Carl that she was only with them now, temporarily, because they had common goals — or just seeing the lonely desolation that would be her life without them, but a lightbulb finally went off in Michonne's thick head. That talking lightbulb said, "Maybe be nice to these people and smile now and then, Michonne, before they throw you out on the road with Merle. This world is f***ing brutal and you're lucky to have friends, even if one of those friends is Carl." Talking lightbulb is deep, you guys.
But we'll get back to Michonne and Carl's B-plot bonding later, because the Rick and Morgan stuff was really good. After the Grimes trio unsuccessfully raided Rick's old company headquarters (the sheriff's station) for guns and ammo, Rick suggested that they head to main street because, as Plainsville's NRA spokesperson and gun permit-signer, he knew where all of the town's secret stashes were. ("Do you have a problem with that approach?" Rick asked Michonne, being a total prick. "No Rick, I don't have a problem," she sincerely replied with a look of sadness, as she handed him a lone bullet. Michonne can be endearing when she actually tries.)
So off to main street they went, except main street wasn't main street anymore, it was a mess of Mount Vesuvius-style charred corpses, ominous graffitied warnings, and Walker traps that vaguely resembled the barricades from the stage version of Les Miserables. The town was clearly being run by a very resourceful lone loon. And that lone loon, we soon learned when he appeared from a rooftop demanding their guns and their rapid departure, was MORGAN! A shoot-out immediately followed, and Carl shot him — because Carl shoots everybody nowadays. Just ask Saturday Night Live. Then Rick took off Morgan's mask, and had a "holy s**t" moment when he saw his old pal. He'd been wearing a bulletproof vest so he was fine, just passed out. And without his little son Duane, so it was obvious that this man's story was going to descend into tragedy-ville as soon as he woke up.
RELATED: 'The Walking Dead' Star Norman Reedus: Get Ready For 'Bouts of Rage'
Oh, did it ever! Morgan was living in a booby-trapped apartment, with walls covered in scribbles (the first lesson you learn in Looney Loon 101) and Rick's walkie-talkie of missed opportunity. Do you know what that walkie-talkie smelled like to Rick Grimes? It smelled like guilt. Rick hadn't turned on that outdated piece of technology every day at dawn to rescue his ill-fated friend. He'd gone on living — becoming embroiled in Lori/Shane scandals, having children, making friends with Daryl. A pretty okay life, considering. Michonne — the voice of reason in Daryl's absence — wanted to get the you-know-what out of there ("I think he's dangerous," she said. Duh!), but Rick Grimes loves confronting his demons and feeling guilty about things so he stuck around, while Carl and Michonne went on a photography-inspired adventure that we'll get to momentarily. Before they left, we had our @LOLMichonne moment of the week when Rick scolded her for eating the still passed out Morgan's food. "Mat says 'welcome,'" she replied with a hefty dose of monotone and a shrug. Girl, you silly.
Morgan woke up a few minutes later (right after we saw that he'd scribbled EVERYONE TURNS on the wall), and tried to stab Rick. Dude appeared to be three sheets to the wind with madness. "I don't know you!" he screamed, after mumbling something about Rick wearing a dead man's face. "You don't clear! You turn! You just die! Psycho babble psycho babble!" he ranted, whilst still trying to stab Rick in the face. He nicked him in the shoulder, then began to cry and begged Rick to kill him once Sheriff Grimes got the upper hand.
Of course, he regained clarity and recognized Rick as soon as Rick brought out the symbolic walkie talkie. "You said you'd turn yours on at dawn, that's what you said," Morgan cried. He'd turned it on every day, for weeks. With his boy. But no, nothing — nothin' but nothin' from Rick Grimes. "You said you'd turn on your radio every day at dawn, and YOU WERE NOT [period] THERE [period]," he screamed. Great, just what Rick needs — more ruined lives to feel accountable for. Rick tried to explain his actions to Morgan, but duh, mostly to himself. He had lives he was in charge of, he explained. They had to keep moving. (ASIDE: I've been saying for weeks that Rick needs to get over feeling accountable for every person that's been somehow f***ed over since the beginning of this series if he's going to survive, and it seems like this is finally happening. Thanks for being the sacrificial lamb, Morgan.)
Morgan is sad and crazy so we'll give him a pass, but he was being kind of a d**k to Rick. You know, sarcastically telling Rick his life was great because he didn't have to see his wife turn like Morgan did. I hated him for about ten seconds, but then he told a horrible story that makes Carl shooting Lori sound downright uplifting. Remember in the pilot, when Rick gave Morgan the gun to shoot his Walker wife? But he couldn't do it? Morgan remembers that, too. "I let her go like there wasn't going to be a reckoning," he said. (ASIDE: I mean, it was totally obvious that this story was coming from the moment we found out that Duane was dead, but Lennie James' deliverance was just soul-crushing.)
Morgan and Duane were looking for food, you see. (It always comes down to food.) He looked away for just long enough for his wife to reappear, right over Duane. Duane held up his gun, ready to shoot. But, alas, Duane was no Carl Grimes, and Morgan was unable to stop it. "He turned, and she was just on him," he explained. "And I just see red. I see red." Oh boy, this is heartbreaking. Call your loved ones and get back to me…
… K. My mom says hi. So Morgan didn't kill his wife, then his wife killed his son, and Rick Grimes was the man that gave him the gun that could have prevented all that. That's why he's bananagrams, and it totally makes sense. Rick Grimes was starting to look and feel very normal in comparison, as Morgan told him that Carl and everyone he knew would surely die. I mean it's true, but telling white lies never hurt anyone, Morgan.
Regardless of Morgan being a total buzz-kill, Rick invited him back to the prison, selling it as some kind of Utopia. (ASIDE: Really, Rick? You kick out the lovely, totally mentally adept Tyreese and his gang and deliver them to the welcoming hands of the Governor, but beg this loon to join you? Think about your life, Rick. Think about your choices.) But Morgan decided to rot in the prison of his own making, instead. It was an awful lot of guns Rick was taking, and Morgan wanted no part of any sort of human struggle. He'd already chosen a slow and brutal death, and was clearly in the right place. "Why do you need the guns, Rick? Cause if you've got something good, that just means there's someone who wants to take it. That is what is happening, right?" I mean — yeah.
"You will be torn apart by teeth or bullets," Morgan went on. "You and your boy. Your people. But not me — because I am not going to watch that happen again." Chilling. And this was the moment, ladies and gents, where Rick Grimes CHOSE LIFE! "This can't be it," Rick said. "You have to be able to come back from this." He was metaphorically talking to himself, right? Or the version of himself that would be if he kept talking to visions of Lori? This is so the "Ghost of Christmas Future" section of A Christmas Carol. Rick stared his future in the face, and didn't like what he saw. He tried to reason with that future, then realized there was no reasoning once you jumped fully into the rabbit hole. So he took his guns, and he left. Bye Morgan, thanks for being symbolically brilliant and what not. Enjoy all the misery and the rats on skateboards. Maybe get a dog, too, because that worked wonders for I Am Legend.
Now it's time to delve into the unlikely friendship between Carl Grimes and Michonne… (does she have a last name?) Carl left Morgan's apartment under the guise of getting a crib for Asskicker at the Plainsville Baby Emporium, but Michonne knows bulls**t when she sees it (see: Woodbury). Carl is a terrible liar, and it was obvious that he was off to take some sort of ill-fated trip down memory lane. Also, Chandler Riggs is a good actor, and wears his emotions all over his f***ing adorable Bieber-y face. So Michonne either A, likes Carl as a human being, B, wanted to get in good with the Grimes Gang, C, knew that hanging out with Rick would be terrible, or D, doesn't care for the death of children. Whatever it was, she followed him. You know, to help "carry the crib."
As soon as they left, Carl gave Michonne the dip while she sliced open a Walker. She was scowley until she caught up with him and he walked straight past the Baby Emporium, saying he was going to get little Asskicker something else first. Clearly this was something of importance to poor little Carl, who should be learning Algebra but is instead learning how to survive in a world without hope (not sure which is worse), and Michonne's heart grew three sizes that day. Michonne decided to help out on this sure to be stupid mission, and selflessly accompanying a member of the Grimes Gang on a stupid mission is the only way to gain membership to this terribly exclusive group, so the decision was a good one.
Carl was very unwelcoming at first, spewing out his dad's hurtful argument that she was only there because they had common interests, then she would GTFO with Merle and the other unpopular kids. The thick-headed cowboy was headed into a Walker-filled restaurant though, so she ignored him. Way to turn down help from the warrior woman with a Katana, Carl. A total Carl Grimes move, if you will. Then, obviously, Michonne saved Carl's life and killed the s*** out of several Walkers, but they were not able to retrieve this mysterious restaurant item that Carl so badly desired. (Was it whiskey?) "It's the only one left!" Carl cried. "We have to go back, Kate!" Michonne knew he wasn't going to let this one go. "No more bulls**t," she said. "You wait here, and that's how we get it done."
Thankfully, Carl actually listened — and seconds later Michonne came back with a photo of Rick, Lori, and little innocent Carl. "I just thought Judith should know what her mom looked like," he said with an adorable smile. "Thank you." But Michonne was going to go back anyway, to retrieve a colorful statue of a cat. "I just couldn't leave this behind," she said. "It's just too damn gorgeous," she said. Then something wonderful happened — she smiled! Michonne smiled! Michonne likes art! We're learning so much about her, finally, and I like her. I maybe even cried a little. Sue me, this was an emotional episode.
In the end, Carl and Michonne (who found a crib!) met up with Rick and Morgan in the street. "He's okay," Michonne observed. "No, he's not," Rick replied. Carl apologized to Morgan for shooting him, and Morgan told him to never be sorry. This is not a world where you can feel sorry, Carl Grimes. Your father just spent an entire episode learning that very same lesson, let's hope you pick up on it sooner.
They packed up the Hyundai with their guns and baby stuff, (how totally red state, emiright?) and Carl announced to Rick that Michonne "might be one of us," while she was pretty much standing right there. I love how they do that. These two are absolutely terrible at talking about people behind their backs. Then Michonne buddied up with the elder Grimes, stating matter-of-factly that she knew that he had been seeing things. "I used to talk to my dead boyfriend," she said. "It happens." Michonne had a boyfriend! Michonne is so likable! I love this episode, and Rick's response: "Do you want to drive?" he asked. "Yeah," she replied. (It's a Hyundai! Who wouldn't want to drive a Hyundai?) "Good, cause I see things." Rick Grimes, you are so damn sexy when your head is on straight.
Michonne drove off, while Rick gazed out the window — saying goodbye to his old life, and his guilt — once and for all. To hammer this point in, they drove past the guts of the poor hapless hitchhiker from the beginning of the episode, and stole all of his stuff. That's the spirit! All in all, I thought that this was a tremendous episode, with some of the best writing and characterization we've seen all season. But enough about me — what did you think? Did you like seeing Morgan again? Do you feel that Rick is fully healed? What do you think Merle was doing while all of this was going down? Mentally torturing someone, I'd reckon. Let us know in the comments!
Follow Shaunna on Twitter @HWShaunna
[Photo Credit: AMC (2)]
From Our Partners:Justin Bieber Celebrates 19th Birthday, Loses His Pants (Vh1)60 Celebrity Bikini Bodies: Guess Who! (Celebuzz)

David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
="font-style:>

Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
="font-style:>